Post
by #Infinity » 14 Dec 2008, 18:01
12/14/08:
1. I Want To Feel / Dave Rodgers: This track's got a heavy rock feel even more than anything else Dave Rodgers has done in the eurobeat industry. The melodic tone here is quite subtle, yet the unique and catchy ideas implemented here take its edge to another level. The synth builds up a lot of tension, and the extra guitars give it an even fierier environment.
2. Millenium / Robert Patton: 1999 opened in the Time catalogue with an awesome Robert Patton track (Love In Paradise), and likewise (just about) ends with an awesome Robert Patton track. Not too much to say here, except that Millenium is a basic example of why the 100's were one of the highlights throughout Time's lifespan. The synths here are lusty and strong, and the backup instruments have enough edge to make the melodic progression stand out.
3. One Night / Silver: Another well-produced Time presentation from the 100's decade, but with a completely different feel than Millenium. Despite this song having a fairly airy melodic progression, it still stands out marvelously, especially with the solid synth instrumentation that prevents it from sounding boring. Claudio's vocals are effective as ever, but the real highlight of this track is easily the chorus. Aside from being the most melodically dynamic phrase of the whole track, the lead vocal is fully backed up to form a chord, which just about gives it the perfect amount of extra power and boosting the whole package to groundbreaking levels. Of of my favorite tracks off of SEB 105, and that's saying quite a lot.
4. Baccarah / Delta Queens: 1995 to 1996 was Delta's highlight era for me, without a doubt. Stylistically, technologically, and song-writingly, they were miles beyond the rest of the labels at the time, most of which were undergoing a dry period, especially Time, who'd just lost their 2 greatest assets, Gino Caria and Clara Moroni, and needed to start building ground to revive their classic status. I can't help but think Baccarah is purely epic. The catchy lyrics, the intriguing synth structure, and the well-developed melodic progression all make this little gem a classic for me.
5. Take Me Now / Tommy K.: A hard-hitting beat, Dima vocals, and a super-innovative and infectious song structure, how could you go wrong? Without a doubt, Take Me Now is one of the highlight tracks of Dima's stay at Time Records, as it really takes quite a step beyond the usual faire and exceeds the level of catchiness to an unimagineable degree. After an intro that draws in a lot of excitement, an absolutely incredible synth hook is set loose, which continues to build up tension before the vocal melody kicks in, and if that element is powerful and enthusiastic enough, this song is one of the few instances in which the backup synths are a key player to this song's effectiveness, as they persistently support the vocals to ensure that not a single drop of interest is lost throughout the whole track. Spot-on.
6. Don't Stop The Rock / Lou Grant: Another prime example of Time at their best. The intro of this track is simply mesmerizing, combining the heavy-hitting ingredients of hard rock and driving them with a classic 100's era Time soundworld. The main track kicks in to be a bit more usual, but still retains the same feeling of suspense and excitement. The song is complete with a mighty melodic progression, lusty instruments, and a basic structure that successfully brings out all the best that it can offer.
7. Love In The Elevator / Dave Rodgers
8. All Of My Life / Sophie: Sophie may have easily been one of Elena Ferretti's better aliases at Time Records. Though I didn't care for everything she did, this track, lifted from SEB 105, is quite a surprise hit and easily one of her best. One thing I must note, I've definitely found that most of Elena's best older tracks tended to be the ones produced by Dima, not Delgani, whose style I've always loved but not always in the case of Elena Ferretti's performances. Opening up with a fantastic intro, All Of My Life has production values that are really quite a step up from your usual EF faire. The instrumentation is nice, punchy, and firm without sounding overdone, and the melodic structure greatly catches my attention, sounding fresh and plesant, not dull and rehashed. Way to go!
9. I Am Mister Blaster / Garcon: Crazy awesomeness! the_ditz's review pretty much sumarizes everything that needs to be said about this track, but despite my mixed reaction to the sample, I have to whole-heartedly agree. The whole song is just a nonstop faire of craziness, chaotic synths, and infectious melodic tricks, yet it all just seems to come together absolutely perfectly. One of Garcon's best releases to date.
10. I Will Remember / Norma Sheffield: Ooh, Norma Sheffield in my top 10? How on Earth did that happen? Well, sometimes, when artists change up their approach, things can result in a far different outcome. Though I generally dislike Norma for her dull, wimpish, and unspirited vocal delivery, this song, yet again lifted from SEB 105, shows her actually putting in a little more effort. She's definitely still no Tamika or Melody Castellari here, but somehow I was actually touched by this song. It wasn't rehashed, slushy-hushy mush like most of her tracks, as all of the elements incorperated into this piece, including the production values, the merit of the lyrics, and, of course, the vocals, seem to rise far above Norma Sheffield's other performances to date.
HM:
- I'm Looking For Your Love / Sara
- Fire Fire Fire / Atrium
- Money Gets Funny / Dee Dee Wonder
- Pagal / Mara Nell
